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The British Interplanetary Society before the Second World War
Charlotte Sleigh

11 Science as heterotopia: the British Interplanetary Society before the Second World War Charlotte Sleigh In a night of wild drinking in 1941, Captain John (Jack) Happian Edwards, on leave from his Admiralty research post in Scotland, let slip his secret quest for an enormous emerald, stolen from a Burmese temple and whisked across international borders. In the course of tracing the gem Edwards had stumbled upon a gang of dope smugglers who, convinced that he was working for Scotland Yard, surrendered themselves to him. Of the emerald’s whereabouts he said

in Scientific governance in Britain, 1914–79
Staging Carmen’s death
Phil Powrie

6 From heterotopia to metatopia: staging Carmen’s death Phil Powrie There have been some eighty film adaptations of the Carmen story since 1895 (excluding over thirty TV films), based either on Prosper Mérimée’s novella (1845) or on Georges Bizet’s opera (1875), or on a combination of both. It is one of the most adapted stories in cinema history, and the most adapted classical literature in French cinema (the next most adapted being the fifty-odd film versions of Victor Hugo’s Les Misérables). Those adaptations range across national cinemas: the USA is the most

in French literature on screen
Joanne Tompkins

I completed a study of heterotopia which culminated in Theatre’s Heterotopias: Performance and the Cultural Politics of Space in 2014. 1 Building on Michel Foucault’s description of heterotopia in ‘Of Other Places’, I explicated a method for understanding the spatiality of performance, outlining the constructive connections between stage

in Foucault’s theatres
Utopias of development
Author: Stewart Allen

Through an ethnographic study of the Barefoot College, an internationally renowned non-governmental development organisation (NGO) situated in Rajasthan, India, this book investigates the methods and practices by which a development organisation materialises and manages a construction of success. Paying particular attention to the material processes by which success is achieved and the different meanings that they act to perform, this book offers a timely and novel approach to how the world of development NGOs works. It further touches upon the general discrediting of certain kinds of expertise, moving the book beyond an anthropology of development to raise wider questions of general interest.

The author argues that the College, as a heterotopia and a prolific producer of various forms of development media, achieves its success through materially mediated heterotopic spectacles: enacted and imperfect utopias that constitute the desires, imaginings and Otherness of its society.

Founded by the charismatic figure of Bunker Roy, the Barefoot College has become a national and global icon of grassroots sustainable development. With a particular focus on the Barefoot College’s community-managed, solar photovoltaic development programme, this book considers the largely overlooked question of how it is that an NGO achieves a reputation for success.

This edited collection is the first to engage directly with Foucault’s thought on theatre and with the theatricality of his thought. Michel Foucault was not only one of the most controversial and provocative thinkers of the twentieth century, he was also one of its most inventive and penetrating researchers. Notoriously hard to pin down, his work evades easy categorisation – philosopher, historian of ‘systems of thought’, ‘radical journalist’ ‒ Foucault was all of these things, and so much more. In what some see as a post-critical landscape, the book forcefully argues for the urgency and currency of Foucauldian critique, a method that lends itself to theatrical ways of thinking: how do we understand the scenes and dramaturgies of knowledge and truth? How can theatre help understand the critical shifts that characterised Foucault’s preoccupation with the gaze and the scenographies of power? Above all, what makes Foucault’s work compelling comes down to the question he repeatedly asked: ‘What are we at the present time?’ The book offers a range of provocative essays that think about this question in two ways: first, in terms of Foucault’s self-fashioning – the way he plays the role of public intellectual through journalism and his many public interviews, the dramaturgy of his thinking, and the appeal to theatrical tropes in his work; and, second, to think about theatre and performance scholarship through Foucault’s critical approaches to truth, power, knowledge, history, governmentality, economy, and space, among others, as these continue to shape contemporary political, ethical, and aesthetic concerns.

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The frayed edges of the spectacle
Stewart Allen

at the Barefoot College as enacted through marginalised persons and material orders, acts to create certain utopian visions of progress, enlightenment, social change and the nation-state. However, the Barefoot College as a development institute that relies on continued funding and support from globalised donors and interpretive communities (Mosse 2005) must also mobilise and make visible these heterotopias within different national and global spaces of becoming. I have argued that it achieves these effects through heterotopic spectacles of development. Throughout

in An ethnography of NGO practice in India
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Selling the Barefoot College
Stewart Allen

‘spectacle’ and Foucault’s concept of ‘heterotopia’, I argue that the College, as a prolific producer of various forms of development media, achieves its success through materially mediated ‘heterotopic spectacles’: enacted and imperfect utopias that constitute the desires, imaginings and Otherness of its society serving to reify this theatre of dreams. With a particular focus on its community-managed, solar photovoltaic development programme, one that trains illiterate women from countries across Africa and beyond as Barefoot solar engineers (BSEs), I discuss firstly how

in An ethnography of NGO practice in India
Mark Robson

that this is a matter of spatial practices is one that can be better understood if it is approached through Foucault’s thinking on space in terms of utopia and heterotopia. 41 From representation to spectacle? To make a parenthetical remark, I recall having been invited, in 1966, by a group of

in Foucault’s theatres
Jazz music and images of the past in Stephen Poliakoff’s Dancing on the Edge
Will Stanford Abbiss

expectations of television drama, where dialogic sound – or, more recently, visual spectacle – is considered the dominant element. Dancing on the Edge also engages with the ‘image’ side of this volume's binary through its development of fictional spaces, particularly in enacting a search for a heterotopia, and its use of ‘Poliakovian’ framing as part of its mise-en-scène. It is therefore an ideal programme with which to analyse aspects of sound and image with equal weight. Through jazz, Dancing on the Edge portrays ‘an art created largely by African Americans who

in Sound / image
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Hidden gardens and the haunting of childhood
Francesca Bihet

functions’, such as ‘vegetables (if grown), sheds, and compost heaps’ for ‘regeneration and transformation’ (864). But traditionally beyond the back of the garden is wildness, an area in which children adventure out to play. The bottom of the garden with its fairies can also be viewed as a heterotopia . These are ‘places outside of all places, even though it may be possible to indicate their location in reality’ (Foucault and Miskowiec 1986 : 24). In gardens there is ‘excess, inversion, a festive exuberance. Action here is unrestrained’ (Alexander 2002 : 867). The

in EcoGothic gardens in the long nineteenth century